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By Vlastimir Sudar

In the liberal West as in socialist Yugoslavia, the movies of Aleksandar Petrovic dramatize how enforced dogmatism can corrode any political approach. A case research of the oft-overlooked Yugoslav director’s colourful and eventful profession, A Portrait of the Artist as a Political Dissident explores how Petrovic constructed particular political and social subject matters in his movies. A reaction to the political vagaries of his time, those anti-dogmatic perspectives have been later to develop into a hallmark of his paintings. even though curiosity in socialist Yugoslavia and its legacy has risen gradually because the Nineteen Nineties, the historical past of Yugoslav cinema has been scarcely coated, and this e-book marks a clean contribution to a burgeoning quarter of interest.

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93 The Kingdom of Yugoslavia entered the war against Nazi Germany later than the other European countries. 95 This was, however, not what the majority of the population wanted, particularly in Serbia. 97 As Serbian sympathies were with Greece, and as there were many anti-fascist political groups in general in Serbia,98 the public unequivocally aligned itself against the treaty. 99 Hitler was infuriated by these developments and he postponed his attack on the Soviet Union in order to deal with Yugoslavia and Greece first.

Furthermore, it was to be directed by the veteran actor Ilija Stanojević, with whom Botorić had already made a few short fiction films. 19 According to the Yugoslav film historians Petar Volk and Dejan Kosanović, Karadjordje was commercially very successful in Serbia. This was perhaps due to the fact that the Karadjordjević family took over the throne not long before the film was released, and was welcomed as a way of re-establishing the myth of Karadjordje, the dynasty’s founder, and the great leader and liberator.

He ordered the execution of all the Chetniks from this unit. The unit numbered around 400 people who were then all executed in groups of five within a couple of hours. As some of the Chetniks attempted to run away, Petrović’s 16-year-old comrade hit one of them with the handle of his unlocked rifle and, in this tragically bizarre accident, shot himself in the stomach. Petrović rushed to take his wounded friend to hospital, but the boy died before they arrived. 115 Petrović wrote about those days with mixed feelings.

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